• Journal of Christian Education in Korea
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• v.72
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• pp.25-48
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• 2022

This essay is a critical study of the three models of practical theology that emerged in the second half of the 20th century: the critical correlational model (Sherrill, Browning), the hermeneutical model (Groome, Gerkin), and the faith community formation model (Westerhoff, Campbell). This essay first explores the central ideas of practical theologians who adhere to each of the three models and focuses on Christian education, pastoral counseling, and homiletics. This essay then critically evaluates the three models in accordance to the following four themes: how practical theology has 1) responded to the challenges of postmodernity, 2) engaged in dialogue with different types of theology, 3) participated in interdisciplinary dialogue, and 4) understood Christian practice. In conclusion, this essay suggests that the essential tasks of contemporary Christian education as practical theology include: 1) providing an active response to many challenges of postmodern, postsecular, postdigital, and posthuman era, 2) engaging in interactive dialogue with diverse forms of theology, and 3) facilitating interdisciplinary dialogue based on transversal rationality, and 4) establishing of the concept of Christian practice at the individual, ecclesial, social, public, ecological, and digital levels.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1143-1165
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• 2012

Tinted with ontological concern, Ted Hughes passes through an existential climate, eventually confirms death( or nothingness) as the new foundation of his poetry, and explores the various paradoxical effects of nothingness. Nihilism, fraught with rather negative and traumatic themes such as death, melancholy, and despair can, however, generate being (even in multiple modes), animalistic vitality, and insubstantial specters. Among these new functions of nothingness animality and spectrality are the most notable in Hughes's poetry. A considerable number of animals and bioorganisms that Hughes introduces exhibit the enormous energy derived from the dignity of death, from subversive challenges against the established hierarchy, and from new and dynamic multifaceted sources of nothingness. In other words, Hughes's animals, yield surplus power beyond themselves, as if they are demi-gods; in short, they feature the sublime as unidentified terrifying effects of nothingness. In a sense, animality means allowing some level of violence without legal sanction. Hughes inaugurates this kind of all bigotry-eradicating violence and attempts to subvert higher beings such as humans and gods, and existing doctrines: thrushes rise up against the animal and human worlds; a rush of ghostly crabs at night press through the human world. Hughes also resists the highest being, God, employing the technique of rewriting God's theology. Dirty, anomalous crows attack, subvert, and dismember the delicate, indurate, and thorough system of logos. Hughes, of course, does not place the animals merely in lofty regard, aware of the ulterior deprivation of the sublime animality, the trace of existential negativity. Thus, a seemingly omnipotent crow can become a mere beggar guzzling ice cream from the garbage bin on the beach. In addition, the violent and dignified aspects of nothingness can be transformed to reveal the thin and trivial traits as unreliable specters. Dark, heavy, and terrible nullity lessens its own volume and mass, and exposes the airy waves of shadows or specters. However, owing to nullity's untraceable track, the scarcity and unfamiliarity of the phantoms inversely display their foreign gigantic effects such as fantasy and violence.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Archives of design research
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• v.13 no.4
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• pp.11-21
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• 2000

Due to the explosive growth of the internet, terminology like "information society" and "virtual space" is frequently used, but often in a confusing manner. Some Social theorists and many people are fascinated by "information" and "media" as key characteristics of the contemporary world and rely on the unproven opinion that "Knowledge is a source of value and information moves the world". In this regard, Boudllian defines contemporary culture as a culture of signs and insists that we are surrounded by signs and forms of meaning. There isn't anything behind the signs but signs only exsist, so we cannot escaped from its inauthenticity and consider it improper to insist on it. If people can understand that signs are just simulation of reality, that would be alright. But in fact anything cannot be alright.In this matter Boudllian's conclusion is that we produce images in bulk which are not worthy seeing. Today we reach the conclusion that most images are the letter(character) image itself which shows nothing special.Consequently, this kind of world is a postmodern-world that seems meaningless but has signs to experience and enjoy, many examples of which are shown in the media, such as the internet. We can get to the conclusion that the audience neither sees nor hears anything, but they just can experience many interesting things which characterize the present age. The purpose of this research is to help you to understand current design philosophy and the direction of media while considering both a positive social phenomenon about the new design paradigm of information and media, as well as critical thinking about it.

• Korean journal of communication and information
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• v.43
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• pp.7-46
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• 2008

The purpose of this essay explores a critical review of the Korean critical communication studies focused on the problematic of cultural studies and political economy in 2000s. The findings are as follows; The 'consumer turn' or 'audience turn' in new revisionism modelling John Fiske's cultural studies has been interpreted not to complement but to substitute the necessary criticism of the post-authoritarian media establishment of Korea at that time, arising identity crisis of Korean cultural studies as one of the critical camp. On other side, however, some political economy studies close to the unilinear theses of orthodox marxism has been appraised to neglect the complex process and structure of media and cultural production as well. While the press war between the market-dominant dailies and some progressive dailies has given rise to a whole debate as expected in consolidating period of Korean emerging democracy, the conjucturalism as modelled by Hall's 'authoritarian populism' failed to initiate a new theo tical practice in Korea. Finally, this review essay propose the some new research issues that would converge cultural studies and political economy, modernism and postmodernism; citizenship vs 'cultural citizenship'(valuing the private identity and gender) or Habermasian public sphere vs 'cultural public sphere', the culture of production, (modern)citizen/(postmodern)consumer(recently debated in English media policy), 'differentiation' in capitalist production and 'difference' in consumer sovereignty, 21c future vision of public service broadcasting as one of the 20c institutions.

• The Journal of Art Theory & Practice
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• no.14
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• Journal of Christian Education in Korea
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• v.61
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• pp.131-164
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• 2020

This study analyzes the Trinitarian principles of Christian education through the neo-orthodox theology of Karl Barth, Reinhold Niebuhr, and Paul Tillich in the current era of postmodernism. Both neo-orthodoxy and postmodernism react against the epistemological ideals of modernity. Postmodernism is based on a limited human point of view, and thus becomes a captive to its own subjectivity, producing two main characteristics - pluralism and relativism. Since neo-orthodoxy appeared as a reaction against human-centered modernity, critical analysis of neo-orthodox theology can give insights to cope with the challenges of postmodernism in Christian education today. Thus, this study bases its argument critically on the thoughts of neo-orthodox theologians such as Karl Barth, Reinhold Niebuhr, and Paul Tillich, since they responded to the challenges of enlightenment through rediscovering fundamental theological principles. First of all, this study examined the meaning of God's creation and the fall and provided the principle of theistic relativism. Secondly, this study explored educational insights from Jesus' crucifixion, through His work of redemption, liberation, and restoration and suggests an incarnated relationship building. Thirdly, the study analyzed the caring and comforting work of the Holy Spirit and emphasized the power of the Holy Spirit that heals corrupted human reason and enables loving relationships.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1353-1364
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• 1997

The purpose of this study is to present a theoretical framework for analysis and interpretation of medieval look in fashion by investigating its aesthetic values. Accordingly, it would provide a better understanding of the medieval culture with its composite aspects. Modernism sought to make the Middle Ages in its own image.'New Medievalism' has on the whole tried to avoid reading the Middle Ages onto the modern world. Instead it designates a predisposition about the discipline of medieval studies broadly conceived. Consequently, it has changed the viewpoint of medieval culture from the one-sided angle into the diversified one. As recent studies based on New Medievalism have argued, a close look at the medieval culture revealed the dualistic nature of it, with contradictory aspects such as piety and secularity, ideality and formality coexisting. The characteristics of the medieval culture are categorized to asceticism, naturalism, mysticism and secularism. Asceticism, which is responsible for the melancholic and heavy atmosphere of the medieval culture, is related to christianity and despair of life. It is expressed in medieval dress in forms of body-concealing semi-fitted silhouette, coarse texture and dark color. As a reaction to the extreme splendor and exposure of recent fashion, the ascetic medieval look is attracting attention. The monastic look is characterized by body-concealing silhouettes and minimalized usage of colors and details. Naturalism is the feature seeking for purity of the nature and the human itself. It appears in terms of line as a smooth curve flowing along the body contours, or as a revival style of the Greco-Roman drapery in the medieval dress. Naturalism in the medieval look of the late 20th century fashion is expressed as a pure image with the use of sheer and soft fabric to form a smooth curve flowing along the body contours. Mysticism symbolizes the authority of the Christ and the glory of heaven. It is presented in the medieval dress of the body-concealing straight silhouette made of gorgeous fabrics, brilliant colors and decorations by gems and gold. The insecurity caused by the fin-de-siecle mood is creating a strong interest in religion and it is reflected in fashion as a medieval look reviving the solemn and magnificent style of the medieval dress. Secularism is a reflection of the medieval mind of indulging in the beauty of the mundane world. Heraldry and excessive decorations of the medieval dress are forms of this secularism. These styles of gorgeousness are being refined into a new medieval look of the 1990's. The medieval look of the modern fashion is featured in various styles, reflecting the pluralism of the postmodern society.

• Korean journal of communication and information
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• v.72
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• pp.92-120
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• 2015

The objective of this study is to find out how reality game shows, the relatively new television genre, produce a sense of reality and what differences we can find from the reality they produce in compared to that of traditional reality television shows. The researchers anaylized , aired in 2013and 2014 by tvN, with focus on the show's studio setting and characters in the show. During this process, the 'game elements' and 'reality factor' were considered to be the key words. Finally, the reality produces was examined from two aspects: the production and reception. As a result, we found that the reality it produces is more than just a imitation of the real world. It shuttles between the game world and real world, and encourages audiences to recognize the plural realities in our postmodern society. We hope this study stimulates further researches on reality game show genre, which had rarely gained academic attention.

• Cross-Cultural Studies
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• v.20
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.